≝ Craven’s Dawn ≝
Sounds don’t usually get too complicated on Toby Driver’s album’s single, ‘Craven’s Dawn‘, especially, showcasing gorgeous musical atmospheres. Driver achieves an ambient sound incredibly reminiscent of Mogwai; characterized, markedly, by its plodding percussion and twinkling guitars drenched in thick layers of delay and reverb.
The slow pace allows for the songs to really breathe, permitting the listener to lose themselves in the foggy, Badalamenti-esque synths. There are several moments where a simple, unexpected chord change can carry enormous weight and deliver a subtle yet devastating blow.
Driver’s approach to “traditional songwriting” consists of hypnotizing us with dreamy guitars, ambient synths, and plodding drums; the latter, additionally, present to lend the minimum level of composure needed.
The longest track on this album, Craven’s Dawn, begins with a very long verse. Superimposed with multiple images, the melody, as a result, gives way without transition to a bright and powerful refrain. Each element of this piece is repetitive. And yet everything seems to progress, to rise, without anyone knowing in which direction.
Both clear and drowned in effects, Driver pronounces words, extracted from great melancholy, difficult to understand.
As slow as its predecessors, this piece, particularly, is much more contemplative, more open. The apparent minimalism of its composition poses no limit to the feelings of the listener. “But looking to aurora / I’m already lost”.
Madonnawhore is a singular vision, each track with smoothly fluctuating tones throughout. Subtle details will go by on initial listens; this is an album that takes time to reveal its secrets, reveling in muted intricacies.
You have to listen closely to the changes that occur, as the composition is just as much about the space between the sounds as they are about the music itself.